Throughout his career Ken Currie has explored a wide range of concerns through his dedication to the medium of painting. His latest exhibition, The Gigot Bone, consists of a series of disparate and apparently unconnected images which nevertheless seem to coalesce around notions of transience, beauty and decay.
Currie juxtaposes self-portraits with images of dead game and cuts of freshly butchered and glistening meat. The Gigot Bone and Gigot of Lamb have been gauged and carved but plenty of flesh remains on the bone. However, the flesh of Currie's own face in the Self-Portrait, September series contrasts sharply with the vitality with which the meat is painted. Each portrait shows his head lolling in a seemingly lifeless deep sleep, his colour pallid and grey.